Tag Archives: Alien


Four Star Rating

“Just when it seemed that Ridley Scott’s decline had become irreversible, along comes All the Money in the World” – Wayward Wolf.

The last five years or so have not exactly been what you’d call ‘vintage’ years for one of the big screen’s favourite directors. I’d even go so far as to suggest that it’s now in the public’s interest for his films to be preceded by some kind of warning:


From the man that was bang on track with classics such as: Alien, Blade Runner and Gladiator, the last few years have seen the Ridley Scott Express somewhat derailed thanks to a succession of hugely disappointing offerings.

Prometheus, The Counsellor, Alien: Covenant and the admittedly half-decent The Martian (loved the first half, hated the second) – each, in its own way, has been as underwhelming as the next.

But as the old sport-related adage suggests: form is temporary but class is permanent, and you can’t keep a good man down. Just when it seemed that Ridley Scott’s decline had become irreversible, along comes All the Money in the World.

Based upon the extraordinary true story of the kidnapping of John Paul Getty III, it tells of his mother’s bullish attempts to convince the boy’s billionaire Grandfather, John Paul Getty (the superb Christopher Plummer), to loosen his purse strings a little and stump up the $17 million ransom being demanded by John Paul Getty III’s Italian captors.

But John Paul Getty is stubborn and something of a complicated character, and prising the money from this man’s overly-tight grasp will prove to be much easier said than done.

Much as Governments will typically refuse to succumb to the demands of terrorists, John Paul Getty, whilst having no problem in publicly admitting to the deep love that he feels for his Grandson, seems suitably unperturbed by the young lad’s plight. Instead, time rolls on and even the grisly spectacle of a part of his Grandson’s ear materialising one day in the post, is insufficient to force the stubborn billionaire’s hand.

All the while, John Paul Getty III’s mother, Gail Harris (the excellent Michelle Williams), and Getty’s own head of security, Fletcher Chase (a nice turn from Mark Wahlberg), do everything within their power to not only track down the kidnappers, but more importantly, to attempt to convince John Paul Getty to part with what is after all, a very small fraction of his overall fortune. It soon becomes clear, however, that John Paul Getty will only ever consider adhering to Gail’s wishes upon a certain condition; one that would ultimately snatch Gail’s son away from her own parental control.

All the Money in the World is a prime example of Ridley Scott being a superb director for the big occasion. He’s never been one to shy away from the memorable, the dramatic, the tongue-in-cheek or the big show-stopping scenes. And in this latest big budget crime caper, one scene in particular will have you positively squirming in your seat. But such attention-grabbing antics only serve to positively enhance, not distract in any way from the film’s captivating narrative.

Whereas many of Scott’s recent outings have had the tendency to slide into the realm of the poorly-scripted and the cliché-riddled – in essence a tendency to sell out to the needs of the mainstream – All the Money in the World does no such thing.

With well judged attention paid to the psychology of the unfolding scenario, Ridley Scott succeeds in sustaining a high degree of intrigue, knowing exactly when to ramp up the suspense levels, and more importantly resisting – mercifully – the need to resort to any sort of naff Hollywood closing flourish.

This is a fine, captivating film which achieves that tricky balance between popcorn and fine story telling. In other words, this is every bit a Ridley Scott film – done well, and one, consequently, that should appeal right across the board.







“…a film that tries far too hard to be everything for everyone, and consequently, on balance, falls short in all departments.”

Wayward Wolf.

Oh how I long for simplicity.

There are a handful of set pieces within Alien: Covenant that hint at what a decent film it could have been, but so buried are they within an over-cooked, rambling backstory, that any impact they may lend the film is fleeting, to say the least.

It was Ridley Scott who took charge of the much-hyped, but ultimately quite frankly poor, Prometheus, and in Alien: Covenant, he once again looks to rediscover a bit of that old Alien magic in the latest chapter of this most patchy of franchises.

Sadly, long gone it seems are the days when we cowered in horror and bit our nails down to the bone in fearful awe of the most excellent Alien, not to mention it’s excellent James Cameron-directed sequel, Aliens. Whilst Alien: Covenant does have its moments, it’s a very pale imitation of what’s preceded it.

Another 2017 release, Life, made no pretence to be anything other than something of a homage to some of the great science fiction films of the last half century, yet despite its relatively unoriginal concept(s), it delivered a tight, neatly packaged and thoroughly entertaining finished product with both considerable impact and laser-sharp precision.

Ridley Scott’s Alien: Covenant, in contrast, struggles somewhat for identity. There’s clearly an ‘epic’ vision at play behind the scenes here. The director tries manfully to engage his audience on far more of an expansive scale and cerebral level than simply throwing rampaging aliens in numbers at unsuspecting space travellers (although there’s plenty of that to be getting on with), but the general impression is that this is a film that tries far too hard to be everything for everyone, and consequently, on balance, falls short in all departments.

Part thriller, part thought-provoking science fiction piece, part action-packed white knuckle ride, part philosophical lament, you name it, this is a film that struggles gamely yet ultimately fails to weave these and other disparate threads together into something resembling a coherent whole.

Alien: Covenant is not helped by both momentum-sapping, drawn-out scenes of unnecessary ponderous self-reflection, and by fairly weak characterisation.

Although Michael Fassbender (playing both David & Walter) and Katherine Waterston (Daniels) turn in strong performances, and as whole-heartedly as all other parts are played, there’s something of a disconnect here between viewer and character, and I doubt that there will have been too many tears shed by the viewing public as the cast are predictably whittled down in number via various grisly means, leaving the remaining few to battle it all out in overly exaggerated bloated fight sequences.

Where Alien: Covenant does however score highly, is in the ‘memorable, hard-hitting set pieces’ department. Indeed, never let it be said that Ridley Scott doesn’t know how to shock, or to sear disturbing imagery into our collective grey matter.

There are certain franchises that tend to garner a generous tidal wave of goodwill regardless of the true quality of their output, attracting something of a blinkered, head-in-the-sand devotion by the masses. The Alien franchise is one such example. But the truth is that there have been just two truly excellent Alien films in the series, and the rest, no matter how much you dress them up, or who’s been pulling the strings, have largely been regurgitated re-hashes of the original, admittedly excellent concept.

There’s no doubt that there were good and very grand intentions behind Alien: Covenant – this is a film not without its positives, rest assured – but it’s probably all  best summed up by the rather sign-posted ‘twist’ at the film’s conclusion. Well executed, but rather predictable and ultimately all a bit unnecessary.











“…Life is perhaps something of a homage to some of the truly great futuristic films of yesteryear.”

Wayward Wolf Film Review.

Watching this science-fiction horror got me thinking of the irony that amidst the infinite vastness of outer space, the actual ‘stage’ upon which the vast majority of apparently ‘realistic’ science fiction films are played out, is somewhat claustrophobically small and rather limited; a case in point being Daniel Espinosa’s, Life.

In order that the crew of an exploratory space mission might not suffocate to death, the action must either be contained within the sanctuary and metaphorical ‘four walls’ of their relatively minuscule space station, or should they venture out of these confines into outer space, they must again be contained, this time within life-preserving space suits, anchored firmly to the space station.

Containment is indeed the name of the game and thus the ability for Directors to demonstrate true originality considering the self-imposed man-made limitations of the known science-fiction world, can quite often be severely hampered. This results in scenarios and backdrops becoming all too frequently a little overly-familiar and maybe even reassuring to our eyes, no matter how many supposedly differing tales of missions blasting-off into the great unknown we are subjected to.

On the one hand, Life is a film that most definitely suffers an originality bypass, more than most, its subject matter revolving around content that’s quite clearly been begged, borrowed and stolen from any number of prior science fiction sources.

But on the other hand, it’s equally possible to accept the point of view that Life is perhaps something of a homage to some of the truly great futuristic films of yesteryear.

Alien, Aliens, The Thing, Gravity, Interstellar, they’re all, without question, key influences here in the Director’s thinking.

But is this necessarily a bad thing?

These films were all lauded for their particular plus points, be that the more gritty, industrial and organic feel – the actual rattling nuts and bolts of space travel – that was conjured up in Interstellar, the stunning cinematography and awe-inspiring heart and soul of Gravity, the use of visual tracking technology to create absolutely white-knuckle-esque suspense, in Aliens, or the sheer fear factor brought about through a combination of the unknown and ultimately the horror of knowing, in both Alien and The Thing.

To name but a few. The list could very easily go on.

In the case of Life, each of these elements are employed strategically and expertly – it has to be said – creating a thoroughly convincing yet very straight forward tale of the inevitable perils of poking about too much in space.

The crew of an international space station are part of a mission to intercept some sort of probe that has been collecting ‘samples’ from the surface of Mars. The crew are to then analyse these for any potential signs of life.

Hugh Derry (Ariyon Bakare), is the scientist in charge of analysing and nurturing the single-celled life form that they successfully unearth from Mars’ dust samples.

Its rapid growth and unconventional, unpredictable demeanour soon becomes not only the subject of much fascination, but also of considerable concern for the crew. They are mindful that as ground-breaking as their discovery undoubtedly is, there are bucket loads of unknowns attached to this particular venture, and the mutually agreed upon, over-riding protocol is that no matter how unique and precious this organism’s growth and development may be, if things get out of hand, it cannot be allowed to affect life on planet earth.

Needless to say, when playing with fire, people get burnt. And so it proves to be.

So long as you can sufficiently disassociate this film from all of its more obvious influences and treat it as the nail-bitingly tense thriller that it certainly is, Life will, without question, be a most enjoyable 100 minutes of your time.

The cast is excellent and the characterisation, I am pleased to announce, is surprisingly downplayed when compared with the more exaggerated characterisation of some of the film’s science fiction forerunnersFrom the brash swagger of Rory Adams (Ryan Reynolds), the sultry authority of team leader, Ekaterina Golovkina (Olga Dihovichnaya), to the quietly spoken David Jordan (Jake Gyllenhaal) – whose influence on matters steadily grows as the team’s collective crisis deepens and they flap about with increasing desperation in their attempts to bring a halt to the inextirpable extraterrestrial’s progress.

As for ‘Calvin’ the alien being; he / she / it is deceivingly angelic in appearance. A sort of translucent orchid-like jellyfish creature. Convincing both as some sort of mythical spiritual being and as the relentless predator that it turns out to be.

Perhaps not so convincing however is Jon Ekstrand’s full and rather overblown soundtrack which is effective only sporadically, yet over-bearing and seemingly omni-present. The film at times struggles to breathe under the sheer weight of this excessive sonic onslaught.

Nonetheless, this is but a minor gripe, and is insufficient to detract from the positive impression and sentiment that the film successfully conveys, overall.

Thoroughly engaging to the point where I failed to second guess a fairly predictable yet highly effective twist near the film’s conclusion, Life is a delectable piece of fantasy that tips – in the most brazen of fashion – the visor of its space suit’s helmet in the general direction of the very best of classic cinematic science fiction.